New York manufacturer of fine dance apparel for women and girls.
Click here to see a sample of our products and a
list of web sites for purchasing.
With Body Wrappers it's always performance at its best.
Go back to Flash Reviews
Flash Review 2, 5-13: Star Power
Cojocaru Elevates ABT 'Bayadere'
By Susan Yung
Copyright 2003 Susan Yung
NEW YORK -- The Royal
Ballet's Alina Cojocaru made the first of just two season guest
appearances with American Ballet Theatre in Natalia Makarova's production
of "La Bayadere" (after Marius Petipa) Friday at the Metropolitan
Opera House. The palpable buzz in the audience recalled last year's
performances featuring guest artist Carlos Acosta. Cojocaru, as
Nikiya (a temple dancer) partnered by Angel Corella as Solor (a
noble warrior), demonstrated the reasons for her fast-rising reputation.
There are two sides
as pertains to the wisdom of inviting guest principal dancers from
other companies to perform for brief stints with the company, as
Acosta did last year. On the one hand, it might be undesirably humbling
for ABT's regular talented principals to be overshadowed by the
attention surrounding the guests. On the other hand, it could be
a blessing for the regular principals to have the spotlight averted.
Perhaps most important, the guests surely raise the level of competitiveness
to challenge the regular principals into performing their best.
Cojocaru -- whose well-proportioned
physique does not immediately give away her diminutive size -- entered
and floated about the stage in tiny, supple bourrees. She is gifted
with exceptional turn-out; beautifully arched feet; high, easy extensions,
and a pliant back. But what distinguishes her are the intangibles
-- a serene fluidity of phrasing, a high attention to detail, and
an innate knowledge of ballet that frees her to inhabit her role
and concentrate less on doing the difficult steps, rather remarkable
for such a young dancer (she is not yet 22). She possesses an effortlessness
in the execution of simple, gravity-defying moves, such as in a
sequence in which she lunged deeply, head to her knee, and stepped
back into an arabesque with her leg floating up lightly as if pushed
from below. At times she evoked a softer Natalia Makarova, especially
with her hair drawn up in a long, flowing scarf.
Corella, always a bright
spot in any cast, looked exceptionally pleased to be paired with
Cojocaru as they are perfectly sized for one another. Corella has
always had youthful exuberance in spades; perhaps some years under
his belt have allowed him to contain his energy more, sometimes
implying it rather than always demonstrating it. This seemed so
on Saturday night, when even a small shooing away gesture held an
uncommon gravity. He lifted Cojocaru with ease and partnered her
capably and attentively. Corella is most happy spinning, and that
he did, unreeling his lefty fast turns in second, ending with a
double-digit revolution pirouette.
Here's what I mean by
the regular company being upstaged: Stella Abrera made the evening's
notable role debut as Gamzatti, the Rajah's daughter betrothed to
Solor. A debut here is normally considered newsworthy as ballet
goes. Abrera, a soloist, has an elegant, noble demeanor, and looked
perfectly at home dripping with rhinestones, if a bit nervous. Both
she and Corella slipped slightly ending turns, perhaps betraying
the tension in this highly anticipated evening in front of chattering
balletomanes. I trust that repeated stints in roles will give Abrera
the confidence she needs to completely capture them.
The women's corps looked
spiffy in Act II's Kingdom of the Shades -- not a wobble in sight
in the difficult sustained second position developpe, their collective
timing down to within a breath. Renata Pavem, Erica Cornejo, and
Maria Riccetto showed finesse in their solos, making the miniscule
stuttering hops on one toe, or mellifluously drawing one turn over
several counts. Joaquin De Luz showed soaring bravado and sharp
feet as the Bronze Idol. The evening had a celebratory air -- a
punctuation mark in the heart of ballet season in New York. Charles
Barker conducted the score by Ludwig Minkus, sometimes at brisk
speeds. Theoni Aldredge designed the costumes, Pierluigi Samaritani
the lavish sets, and Toshiro Ogawa the lighting.
Go back to Flash Reviews